Vitruvian Man by Leonardo da Vinci – Facts & History of the Drawing View Complete Works Leonardo da Vinci drew The Vitruvian Man in approximately 1487 in one of his notebooks. This world-famous drawing is also known as the Canon of Properties or Proportions of Man. The Vitruvian Man blends art and science and showcases da Vinci’s interest in proportion. It also provides an example of da Vinci’s attempt to make connections between man and nature. The drawing currently resides in the Gallerie dell’Accademia in Venice, Italy and is rarely shown. History Leonardo da Vinci had a great interest in science as well as art. While the concepts of human proportion had been studied for centuries, his drawing was unique due to some modifications he made based upon his own observations. Multiple examples of anatomical sketches exist and may have served as inspiration or source material for da Vinci. However, his primary inspiration came from the work of Vitruvius, a famous Roman architect. His background in geometry and anatomy gave da Vinci a unique ability to apply geometric principles to his artwork and The Vitruvian Man provides an excellent example of his ability to blend science and art.

The Drawing The Vitruvian Man is a pen and ink drawing done on paper with a wash over metal-point accompanied by handwritten notes. In the drawing, two male figures are superimposed upon each other. The figures are shown with arms and legs extended in differing degrees of extension. One figure shows the legs slightly apart and the arms extended straight out from the shoulders. The other figure shows the legs moderately spread and the arms extended partway above the shoulders. In both figures, the head and torso are completely superimposed. The male figures are inscribed within a circle and a square, showing the geometric proportion of the human body. Markings upon the bodies serve to identify points used in establishing proportional measurements. In addition, the drawing includes shading and details indicating musculature and anatomical elements such as joints and genitalia. The Notes The drawing includes handwritten notes above and below the drawing. The notes are based upon the work of Vitruvius who described the human body as an example or source of proportion in Classical architecture. The text above the drawing lists specific measurements based upon the human body. In this paragraph, da Vinci inscribes some of Vitruvius’ observations and provides geometric ratios based upon the extension of the arms and legs.

The notes beneath the drawing continue listing specific anatomical proportions. While the top portion provides specific measurements, the bottom listing focuses on proportions of the human body. For example, da Vinci noted the span of outstretched arms is equal to height. Each point used in determining the listed proportions are marked in the drawing and a line indicating length or dimension is included beneath the anatomical figures. Interpretation While da Vinci clearly references Vitruvius and uses his work as a basis for The Vitruvian Man, this sketch goes beyond the mathematical proportions of the human body. While Vitruvius considered the body a source of architectural proportion, da Vinci extended the observations and work by correlating the symmetry of human anatomy to the symmetry of the universe. In da Vinci’s drawing, changes to the original source material include shifts in the position of the enclosing square and variations in the height of the extended arms. These changes show a greater understanding of anatomy gained through da Vinci’s study of the human body. Although the drawing consists of two superimposed images, the combinations of limb positions allow 16 different poses to be observed.

In addition to the anatomical and artistic value of The Vitruvian Man drawing, mathematicians have studied the drawing extensively and found numerous proportional rules and formulas in da Vinci’s work. The drawing aligns to an octagon, which serves as a geometric framework for the proportions of the human body. Close analysis of the drawing shows each individual proportion adheres to the canon recommended by Vitruvius and still holds up to modern medical and mathematical studies. The Vitruvian Man is one of the most well-known and easily recognized images of Renaissance art and serves to showcase the blend of art and science which emerged during this period. The drawing, found in da Vinci’s notebooks, was intended to be part of his personal notes and observations of the human body. Yet, it still continues to be a vibrant and resonant image appearing in numerous modern contexts to represent the same blend of science and art. 5 responses to “Vitruvian Man” George Reynolds The Vitruvian Man is the most interesting subject I have ever seen among world famous drawings. I am collecting stamps and postal material on this subject. If any one can advise me on this theme I would be highly obliged. George Reynolds, India.

Vitruvian Man by Leonardo da Vinci - World Mysteries Blog World Mysteries Blog Vitruvian Man by Leonardo da Vinci January 12, 2011 Vitruvian Man Introduction The Vitruvian Man is a world-renowned drawing created by Leonardo da Vinci around the year 1487. It is accompanied by notes based on the work of Vitruvius. The drawing, which is in pen and ink on paper, depicts a nude male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man. It is stored in the Gallerie dell’Accademia in Venice, Italy, and, like most works on paper, is displayed only occasionally.

Leonardo da Vinci, Vitruvian Man, 1487, 34.4 × 25.5 cm (13.5 × 10.0 in) A passage from Roman architect Vitruvius (Marcus Vitruvius Pollio), describing the perfect human form in geometrical terms, was the source of inspiration for numerous renaissance artists. Only one of these, the incomparable Leonardo da Vinci, was successful in correctly illustrating the proportions outlined in Vitruvius’ work De Architectura, and the result went on to become the most recognized drawings in the world, and came to represent the standard of human physical beauty. It was the version produced by Leonardo da Vinci, whose vast knowledge of both anatomy and geometry made him uniquely suited to the task. The drawing is based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Architectura. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. Other artists had attempted to depict the concept, with less success. The drawing is traditionally named in honour of the architect.

The Vitruvian Man image exemplifies the blend of art and science during the Renaissance and provides the perfect example of Leonardo’s keen interest in proportion. In addition, this picture represents a cornerstone of Leonardo’s attempts to relate man to nature. Encyclopaedia Britannica online states, “Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of the microcosm). He believed the workings of the human body to be an analogy for the workings of the universe.” It is also believed by some that Leonardo symbolized the material existence by the square and spiritual existence by the circle. [ Source: Wikipedia.org ] Vitruvius, De Architectura: THE PLANNING OF TEMPLES, Book 3, Chapter I 1. The planning of temples depends upon symmetry: and the method of this architects must diligently apprehend. It arises from proportion (which in Greek is called analogia). Proportion consists in taking a fixed module, in each case, both for the parts of a building and for the whole, by which the method of symmetry is put to practice.

For without symmetry and proportion no temple can have a regular plan; that is, it must have an exact proportion worked out after the fashion of the members of a finely-shaped human body. 2. For Nature has so planned the human body that the face from the chin to the top of the forehead and the roots of the hair is a tenth part; also the palm of the hand from the wrist to the top of the middle finger is as much; the head from the chin to the crown, an eighth part; from the top of the breast with the bottom of the neck to the roots of the hair, a sixth part; from the middle of the breast to the crown, a fourth part; a third part of the height of the face is from the bottom of the chin to the bottom of the nostrils; the nose from the bottom of the nostrils to the line between the brows, as much; from that line to the roots of the hair, the forehead is given as the third part. The foot is a sixth of the height of the body; the cubit a quarter, the breast also a quarter. The other limbs also have their own proportionate measurements. And by using these, ancient painters and famous sculptors have attained great and unbounded distinction.

3. In like fashion the members of temples ought to have dimensions of their several parts answering suitably to the general sum of their whole magnitude. Now the navel is naturally the exact centre of the body. For if a man lies on his back with hands and feet outspread, and the centre of a circle is placed on his navel, his figure and toes will be touched by the circumference. Also a square will be found described within the figure, in the same way as a round figure is produced. For if we measure from the sole of the foot to the top of the head, and apply the measure to the outstretched hands, the breadth will be found equal to the height, just like sites which are squared by rule. 4. Therefore if Nature has planned the human body so that the members correspond in their proportions to its complete configuration, the ancients seem to have had reason in determining that in the execution of their works they should observe an exact adjustment of the several members to the general pattern of the plan. Therefore, since in all their works they handed down orders, they did so especially in building temples, the excellences and the faults of which usually endure for ages.

[Source: aiwaz.net] Geometrical construction of the Vitruvian Man by Leonardo da Vinci It is assumed that proportions of the circle and square reflect Golden Division. Here we present analysis that shows that this assumption is incorrect. If a circle has radius = 1 unit, square side is equal to: 1.656 for Vitruvian Man 1.618 for Golden section construction 1.571 for the condition: circumference of the circle = perimeter of the square 1.772 for the condition: area of the circle = area of the square Fig. 1 Comparison of true Golden Rectangle with Vitruvian Man drawing Fig. 2 Circle and square based on Golden Section Squaring the circle is a problem proposed by ancient geometers. It is the challenge of constructing a square with the same area as a given circle by using only a finite number of steps with compass and straightedge. Fig. 2b Squaring the circle. Image on the right: Squaring the circle: the areas of this square and this circle are equal. Image on the left: Circumference of the circle equals the perimeter of the square. Fig.

2b Left shows a circle with Radius = 1 and a square with side = 1.571. The Circumference of the Circle = 6.28… [ 2 x Pi = 6.28 ] The square with side 1.571 has perimeter equal 6.28 [ 4 x 1.571 = 6.28 ]. Fig. 2b Right shows a circle with Radius = 1 and a square with side = 1.772. The Area of the circle is 3.14 [ as determined by pi multiplied by the radius squared ]. The area of the square is also 3.14… [1.772 x 1.772 ]. Vitruvian Man – methods of geometrical construction of the circle and the square The simplest composition is based on a square, which is duplicated and rotated 45º to form an octagram. The distance between the base line of the first square and the apex of the rotated one simply represents the diameter of the circle. Fig. 3a The simplest way to describe the geometrical construction of the Vitruvian Man.

Fig.3b Steps explaining the simplest geometrical construction of the Vitruvian Man. Another method of geometrical construction of the Vitruvian Man Step 1: Draw a square and circle (radius R1) as shown on the Fig. 4 Fig. 4 Step 2: Move circle so point A overlaps with point B (see Fig. 5) Fig. 5 Step 3: Locate center of the final circle (point O) by Dividing distance AB in a half. Draw new circle with radius R2=OA (see Fig.6) Fig. 6 The result matches perfectly Leonardo’s drawing: Fig. 7 Superimposed image of Fig.6 and Leonardo’s drawing. By Anthony G. Cila 3D explanation of Vitruvian Man drawing I greatly appreciated you article and graphics, well stated. However, how is it you missed what was actually drawn/alluded to by Da Vinci?

While it is fashionable to assume he may have been attempting the “rounding the square”, of missed relationships to the golden rule… such is a plausible distraction from what is actually depicted… at first “glance” (the error most commonly made… exposes the genius the master has relied upon to conceal a greater truth): 1) a well proportioned man (measurements alluded to based on “a foot” and its/his relationship to “a cubit”) 2) inside a square 3) inside a circle …all are depicted as two dimensional figures (but the man is not a two dimensional object, neither should one assume it is a square or circle). …it appears to be drawn “as if to scale” but oddly, not actually drawn to scale (i.e.

the man is 4 cubits tall… by Da Vinci’s own “standard”… a “foot and a half” each cubit is six “feet” (oddly he didn’t use an inch to represent a foot in keeping with his scale scale, as multiple measurement systems were in play then) …drawn on parchment approximately 13.5 inches by 10 inches the images are not drawn in inches, instead he free handed them (perhaps he actually used centimeters/millimeters or fractions of inches?) (digitally we have “pixel” counts of 137-139 for an imperfect circle and 224-225 of a near perfect square) …the square and circle do not seem to be related mathematically (leastwise as erroneously expected… knowing full well Pi and Phi are irrational numbers) (exact matches cannot made using irrational numbers, even if the “square’s sides are a multiple of Pi (or Phi) how could the square be “rounded” unless “rounding” is employed) Thus, the square and circle are, like the 3D man, representing 3D objects (a cube and a sphere… both of which contain the same volume relative to their sizes

… that is the comparison Da Vinci is concealing in plain view… along with what had to be rounding the irrational aspects of the equation)… that is how they are related mathematically… in which ever unit of measure one chooses to use….

where you choose to do your rounding directly influences the accuracy of the outcome, but there should be no mistake in the obvious once revealed.

Typically Da Vinci seems to be rounding (irrationally) sometimes at the tenth and other times elsewhere… World-Mystery measurements/figures result in the following volume(s): … with a cube: 2 x 2 x 2 = 8 …and an R2 (Fig 6) of 1.2071: rounded 1.21 …1.21 (to the 3rd power) x Pi (rounded to 3.142) x (4/3) = …1.77 (rounded 1.8) x Pi (3.142) x (4/3) = 7.54 (who wouldn’t round that up to “8” not only irrational numbers must be rounded to be used/fit) …1.77 (rounded to “2”) x Pi x (4/3) = 8.34 (who wouldn’t round that down to 8, even compound rounding achieves the desired answer, his answer) If his cube has a SIDE= 6 x 6 x 6 = 216 is the volume If your R2 theory is correct his sphere Radius= 3.621 (but its off

 by less than a tenth) because, His sphere requires a Radius=: 3.722 (to the 3rd power) x Pi (rounded to 3.142) x (4/3) = 216 …a 139 pixel circle/sphere radius and a 224 pixel square/cube side work quite well together requiring no rounding whatsoever (and achieve a far less than a % error)… this is no doubt what Da Vinci was actually doing despite the herculean efforts of the various math departments world wide in depth analysis (some measuring inside, on and outside the objects… ignoring his work is more carved onto the paper (delineating actual boundaries) and subsequently traced… its can be viewed at the museum in Venice (for closer inspection/measurement).

Along those lines with his imperfect circle/sphere’s radius measured at 137-139 (in pixels) and his square/cube’s at 225 (pixels) an interesting anomaly presents itself and should be noted: 137 + 225 + Pi (rounded 3.142) = 365.142 days in a year (off by less than one tenth(?) just like his sphere and cube volumes). Clearly there is more going on in his drawing than the combined intellect of the last 600+ years (leastwise until I came along to solve the misinterpretation of the 3D objects depicted in the 2D rendering of the Vitruvian man), enjoy… Its obvious Da Vinci was taking his liberty with rounding… at his convenience (lacking an IBM/TI calculator), wink, and depending on where he rounded he could easily have thought he hit “the golden rule” too. Leonardo Da Vinci Leonardo Da Vinci Biography Leonardo da Vinci was an Italian painter, sculptor, architect, engineer, and scientist.

He was one of the greatest minds of the Italian Renaissance, and his influence on painting was enormous to the following generations.He was born on April 15, 1452 in Vinci Italy. He died at age 67 on May 2 in Amboise France. Leonardo da Vinci was born on April 15, 1452, near the village of Vinci about 25 miles west of Florence. He was the illegitimate son of Ser Piero da Vinci, a prominent notary of Florence, and a local woman, Caterina. Not much is known about Leonardo's childhood except that when he was fifteen, his father apprenticed him to Andrea del Verrocchio, the leading artist of Florence and the early Renaissance. Verrocchio, a sculptor, painter, and goldsmith, was a remarkable craftsman. He had great concern for the quality of execution in expressing the vitality of the human figure. These elements were important in the formation of Leonardo's artistic style. It should be noted that much in Leonardo's approach to art originated from using tradition, rather than rebelling against it. Leonardo, after completing his apprenticeship, stayed on as an assistant in Verrocchio's shop.

His earliest known painting is in Verrocchio's Baptism of Christ (c. 1475). Leonardo executed one of the two angels as well as the distant landscape, and he added the final touches to the figure of Christ, determining the texture of the flesh. Collaboration on a major project by a master and his assistant was standard procedure in the Italian Renaissance. What is special is that Leonardo's work is not a slightly less skilled version of Verrocchio's manner of painting, but an original approach which changed the surface effects from hard to soft, making the edges less cutting, and increasing the slight changes of light and shade. About 1478 Leonardo set up his own studio. In 1481 he received a major church commission for an altarpiece, the Adoration of the Magi. In this unfinished painting, Leonardo's new approach is far more developed. A crowd of spectators, with varied faces, looks at the main group of the Virgin and Child. There is a strong sense of continuing movement. Leonardo placed the Virgin and Child in the center. Traditionally in paintings of this theme they had appeared at one side of the picture, approached by the kings from the other side.

Earlier Renaissance artists had applied the rules of linear perspective, by which objects appear smaller in proportion as they are farther away from the eye of the spectator. Leonardo joined this principle to two others: perspective of clarity (distant objects are less distinct) and perspective of color (distant objects are more muted in color). He wrote about both of these principles in his notebooks. The Magi alterpiece was left unfinished because Leonardo left Florence in 1482 to accept the post of court artist to the Duke of Milan. In leaving, Leonardo followed a trend set by masters of the older generation who went to Venice and Rome to execute commissions larger than any available in their native Florence. Leonardo presented himself to the Duke of Milan as skilled in many crafts, but particularly in military engineering. He also produced remarkable machinery for stage set-ups. Both activities point to his intense interest in the laws of motion and propulsion a further aspect of his interest in things and their workings. Leonardo's first Milanese painting is the altarpiece Virgin of the Rocks. It makes use of a respected tradition in which the Holy Family is shown in a cave. This setting becomes a vehicle for Leonardo's interests in representing nature in dimmed light, which blends together the outlines of separate objects.

He once commented that artists should practice drawing at dusk in courtyards with walls painted black. The other surviving painting of Leonardo's Milanese years is the Last Supper. Instead of using fresco the traditional medium for this theme, Leonardo experimented with an oil-based medium, because painting in true fresco makes areas of color appear quite distinct. Unfortunately, his experiment was unsuccessful. The paint did not stick well to the wall, and within fifty years the scene was reduced to a confused series of spots. What exists today is largely a later reconstruction. When the Duke of Milan was overthrown by the French invasion in 1499, Leonardo left Milan. He visited Venice briefly, where the Senate consulted him on military projects, and traveled to Mantua. Leonardo was called to Milan in 1506 by the French governor in charge to work on an equestrian statue (a sculpture of a leader riding a horse) project, but he produced no new paintings. Instead he turned more and more to scientific observation. Most of Leonardo's scientific concerns were fairly direct extensions of his interests as a painter, and his research in anatomy (the structure of a living organism) was the most fully developed.

Early Renaissance painters had attempted to render the human anatomy with accuracy. Leonardo went far beyond any of them, producing the earliest anatomical drawings still followed today. Leonardo filled notebooks with data and drawings that reveal his other scientific interests: firearms, the action of water, the flight of birds (leading to designs for human flight), the growth of plants, and geology (the study of earth and its history). Leonardo's interests were not universal, however. Theology (the study of religion), history, and literature did not appeal to him. All his interests were concerned with the processes of action, movement, pressure, and growth. It has been said that his drawings of the human body are less about how bodies are and more about how they work. In 1513 Leonardo went to Rome, where he remained until 1516. He was much honored, but he was relatively inactive and remarkably aloof (apart) from its rich social and artistic life. He continued to fill his notebooks with scientific entries.

The French king, Francis I (14941547), invited Leonardo to his court at Fontainebleau, gave him the title of first painter, architect, and mechanic to the king, and provided him with a country house at Cloux. Leonardo was revered for his knowledge more than for any work he produced in France. He died on May 2, 1519, at Cloux. Inventions and Ideas Leonardo da Vinci was a brilliant man. Not only was he an amazing artist, he was also a visionary who used his love and skill of drawing to his advantage. He was a Renaissance man who was extremely diverse who believed that he could invent and discover. Sometimes he dreamed of inventions of war, sometimes it was inventions of transportation, and sometimes he dreamed of parts for a larger invention, such as an Automatic igniting device for a firearms. Leonardo was known for his civil engineering, chemistry, geology, geometry, hydrodynamics, mathematics, mechanical engineering, optics, physics, pyrotechnics, and zoology ("Science and inventions of Leonardo da Vinci"). He also dabbled in biology, studying bodies and documenting his work.

Although he's often recognized for his great works of art, many scientific inventions came from him even if his plans were not able to be executed properly at the time. "During the Renaissance period, the study of art and science was not perceived as mutually exclusive," and Leonardo had no formal education. Since Leonardo lacked a formal education, most of his inventions and discoveries were ignored by the scientific community. Although not all of his inventions and ideas we're correct the way he blended art and science is mind boggling. Inventions and Ideas Leonardo would dissect human bodies to get a better understanding of the human anatomy and specifically the vascular structure which carries blood around our bodies. He displayed beautiful looking drawing with text describing the nature of his work. Since he was a skilled artist, he had the ability to demonstrate minute details that a scientist would not be able to display. This is a massive advantage, since communication was limited and expressing your ideas across the world was nearly impossible. His precision work with bodies is one of the his achievements, and while not an invention, is still one of the best works bringing together science and art. Beyond humans Leonardo also investigated plant anatomy (botany).

Some Early Works by da Vinci Leonardo Da Vinci also investigated the topic of light refraction and the a heliocentric universe. While he may not have invented the Heliocentric idea of the universe, he did believe that the was in the center of the Universe and aimed to describe the way the sun shone its light on the Earth and the Moon. He also talked about the the way water reflects light off the Earth onto the Moon. "The earth is not in the centre of the Sun's orbit nor at the centre of the universe, but in the centre of its companion elements, and united with them. And any one standing on the moon, when it and the sun are both beneath us, would see this our earth and the element of water upon it just as we see the moon, and the earth would light it as it lights us ("Science and inventions of Leonardo da Vinci")." Suggesting that light has the ability to bounce off of certain objects. This is also a discussion of the Umbra and Pnumbra, which is the shadows the moon casts upon the Earth. Light and Shadows In the physical world, Da Vinci was an amazing mechanical engineer. He understood leverage, angled gears, lubrication systems and bearings.

He often utilized these things into his inventions. On paper and in his drawings, you can often see these things present. For example, a machine for grinding convex lenses, utilizes gears and cranks to grind the glass piece into the desired shape and size. In fact, most of his inventions stemmed from his ability to draw precise instruments and utilize the materials of his time to his advantage. Instruments and Parts to a Whole Machine As you can see from the above pictures, his devices stretched from weaponry to transportation machines to individual bits and pieces that make up entire machines. He also dreamed of a flying machine, designs for boats, a machine for storming walls, as well as a parachute. He was not limited by the sky though, and he invented things that worked on land, in the air, or in the water. His imagination was one of his driving forces even if all of his inventions weren't used at the time. It is believed that his parachute and light hang glider could have flown easily (Wikipedia). Leonardo also believed in the power of the motion of water. With an emphasis on war for Ludovico il Moro.

Their goal together was to create very light and strong bridges that could be carried around in war to allow his army to flee across rivers and escape their enemies. Additionally, Leonardo produced a drawing of a bridge that was 240m for a project in Istanbul, but the project was not attempted at the time. It was believed to be impossible, in 2006 however, the Turkish government decided to construct Leonardo's bridge to span the Golden Horn. A blueprint Put to Work in Istanbul was Made by Leonard da Vinci He used his understanding of water further in times of war. He had the capability to reroute water ways and help to create a massive siege on an enemy city. He could built trenches, scaling ladders, and bridges of all sorts and completely cut off water from the enemy. (Wikipedia) Da Vinci's study of biology and animal life paid off when he began to create war machines. Things such as medieval "tanks", cannons, and a diving suit were all created from materials around him. He studied the flight of birds often to better understand how he could create a flying machine. He knew the object had to lack "air resistance".

It is believed that the "tank" he created would work, but historians believe that he purposely changed a gear in the tank to make it unusable by unauthorized people trying to steal his invention. Leonardo's "Tank" Conclusion His diving suit was later tested in a BBC documentary following the instructions and drawings he left and they found it was a suitable precursor to the modern diving suit. This an incredible feat and an enormous show of Da Vinci's technical thinking mind and artistic ability. His works were preserved without any explanation by him beyond what he wrote a long time ago. That is great, replicable science. The blueprints he had made, the BBC documentary crew enough information to fully replicate and mimic. They created something was fully functioning from a 500 - 600 year old document. So while Da Vinci might have been a phenomenal artist who created amazing works of art, he applied is skills to other places. Our society these days is so compartmentalized that working the way da Vinci did would be impossible. There is simply too much to understand and know. In the time of da Vinci, it was a time of enlightenment and a time to be a Renaissance man.

It was a time to explore and try all sorts of disciplines to see what you could think of. Of course, having the ability to draw helps to preserve your work properly so people in the future can try to make your work a reality. Leonardo da Vinci was one of the greatest inventors who's inventions ranged a giant scope, but he's often only simply thought of as an artist. References 1. "Science and inventions of Leonardo da Vinci." Wikipeadia. N.p.. Web. 8 Apr 2013. . 2. "The Inventions of Leonardo DaVinci." About. N.p.. Web. 8 Apr 2013. . 3. "Heart- Drawing of Bovine Heart." Wellcome Collection. N.p.. Web. 8 Apr 2013. The Annunciation The Annunciation was a popular theme during the Renaissance period. The image is meant to suggest the moment of the Virgins miraculous conception, when Christ became man through the Holy Spirit who descended from God. The Annunciation was one of Leonardo Da Vincis first paintings between 1472 and 1475 when he was in his early twenties.

The Annunciation is on display in Uffizi Gallery in Florence, Italy since 1867. When the Annunciation came to the Uffizi in 1867, from the Olivetan monastery of San Bartolomeo, near Florence, it was ascribed to Domenico Ghirlandaio, who was, like Leonardo, an apprentice in the workshop of Andrea del Verrocchio. In 1869, Karl Eduard von Liphart, the central figure of the German expatriate art colony in Florence, recognized it as a youthful work by Leonardo di ser Piero da Vinci, one of the fist attributions of a surviving work to the youthful Leonardo (Cleaning Fire). The story of The Annunciation is one of the most frequently depicted scenes in the Bible. In Christianity tradition, the revelation by the angel Gabriel to Mary, the mother of Jesus, that she would conceive a child to be born the Son of God is referred to as The Annunciation. Some controversy follows this painting since actually several people may have worked on the painting since it was in the workshop of the artist Verrocchio (Cleansing Fire).

Verrocchio and Leonardo Da Vinci had different techniques and when the Annunciation was x-rayed you could see the difference. Verrocchio used lead-based paint and heavy brush strokes and Leonardo finished with light brush strokes and no lead. Verrocchios work showed through but Leonardos angel was invisible (Cleansing Fire). Although there have been many different versions of The Annunciation, Da Vinci painted Gabriel and Mary in a natural outdoor setting. Da Vinci kept Gabriel in the more popular kneeling pose instead of like some artists who had him flying or floating. By using the kneeling position of Gabriel gives the suggestion that the encounter has already begun. Gabriel holds a long-stemmed lily which replaces the tall messenger staff of earlier icons. The long stem mimics the messenger staff and symbolizes the delivery of a message but, now, in addition, a lily symbolizes the purity of the Virgin Mary as well as the city of Florence. The archangel Gabriel greets Mary, interrupting her reading from a book the words of the prophet Isaiah, A young woman is with child and she shall bear a son. The Archangel Gabriel usually has wings and is dressed in white.

Here he kneels on a carpet of flowers within an enclosed garden or hortus conclusus, which is another traditional symbol of the Virgin's purity. The flowers also refer to the feast of the Annunciation, which was the 25th March and so associated with springtime. Some say the wings of the angel were originally copies by Leonardo from a bird in flight. And said to have been lengthened by another artist at a later date (Holweck, 1907). In Da Vinci's painting Mary has been sitting at a lecter, reading from the book of Isaiah. Lecterns had not always been part of Annunciation icons. Some place Mary by a well, others have Mary holding a spindle and spinning tread for the Temple veil. By the 14th century, the book and lectern became the prop of choice. The lectern in Leonardos painting has been seen as a sepulchral urn, a sarcophagus, or a Roman Altar. The idea of Mary as priestess was first expressed by the Archbishop of Florence, Antonino Pierozzi.

The feet of the lectern are depicted as lion hocks and were frequently found in images of the Annunciation and were, interestingly, used as supports in small altars. The lion, of course, has long been a symbol of royalty and majesty and may refer to the Incarnation. Icanthus leaves sprouting from the lion hocks, are also attributes of Mary. The garland of pears symbolizes Marys sweetness in the eyes of God. The scallop shell symbolizes heaven in an architectural setting (Cleansing Fire). References Cleansing Fire - "The Annunciation" by Leonardo Holweck, F. (1907). The Annunciation. In the Catholic Encyclopedia. New York: Robert Appleton Company Mona Lisa Mona Lisa The Mona Lisa is one of Leonardo DaVinci&#146s most recognized paintings that there is today. The Mona Lisa is an oil painting done on a cottonwood panel which was unusual for most paintings because most artists chose the canvas panel, another reason why the Mona Lisa was different from normal paintings done in that time period. But because of this cottonwood panel, the Mona Lisa, for six centuries, has never needed to be restored.

The painting is famous not just because of the artwork done, but because of the painter himself. He had a multitude of professions that in turn benefited his artwork. From being a scientist and a doctor and studying the human form he became better equipped to draw humans in his art pieces which would be a reason for why the form of the Mona Lisa was better done than most artists could draw from that time period. This was especially useful because it was a woman&#146s figure that was the subject whereas that was not known to be something that was perfected in order to paint/draw. Having the experience he had with studying the human form, he was able to put more detail into the small things of the painting to make them stand out more such as the hands, eyes and lips. The most intriguing piece of the painting is her smile. Many observers have given theories as to what her smile represents. From scientists, to politicians, and to psychologists, they all interpret her smile in different ways. The techniques he used in painting these portions of her, such as his use of shadowing, made it stand out where it is almost life like.

While most paintings during this time period were of biblical scenes, The Mona Lisa stands by itself due to the distinguished features in her hands, lips and face. Another technique that DaVinici used to make the paint more lifelike was the lighting to create the geometric shapes that makes up the composition. The painting was done in a very simple form yet it still has the composition and technique that made the painting magnificent. The way that DaVinci painted the eyes was to give it a line that would make it seem that she was staring at the person observing the painting. It is said that the person can stand anywhere in the room and the eyes will still be &#34staring" at them. What was also remarkable about this painting for this time period was that DaVinci left behind no visible brush marks. Behind the woman in the painting is a scene of nature, which appears to be in &#34warm colors&#34. From having this part of the scenery in the painting it is giving it the space between the &#34sitter" and the distance.

&#34The landscape becomes a space of rocks and water which stretches to the horizon, which Leonardo has cleverly drawn at the level of the sitter's eyes." The Mona Lisa, throughout its lifespan, has seen its hardships. In 1911, the painting disappeared from the Louvre. When hope of recovering the painting began to diminish until 1913, the painting was found. The mastermind behind the theft was Eduardo de Valfierno. One of the men that he hired to steal the painting was Vincenzo Peruggia. Both were arrested of the theft when it was figured out that Valfierno was attempting to sell the artwork to another gallery in Italy. His plan was to make copies of the original and sell them off as the real thing. There have been several attempts of vandalism on the painting. In 1956, a visitor of the Louvre tossed acid on the bottom half of the painting. Also in that same year, another visitor threw a rock at the painting striking The Mona Lisa below her elbow. That vandalism needed to be painted over. After the several vandalism attempts, it was decided to then hang the Mona Lisa behind bulletproof glass.

It belongs to the French Government and is kept in the Musee du Louvre in Paris, France. This painting is the most studied painting in art history. There are many replicas of the Mona Lisa throughout the entire world for all people to enjoy. &#34This piece of Renaissance artwork completely changed the techniques and style of painting, and is revered around the world as the greatest masterpiece of all time." Multiple artists studied this painting in order to learn off of his techniques and to figure out what type of meaning he put into it. Still today this painting is still studied and is still a very famous painting that everyone knows about or has usually at least seen pictures of it. The painting itself was requested by Francesco Del Giocondo, who was a wealthy silk merchant, to paint a portrait of his wife, Lisa Gherardini, whose family was well known throughout Tuscany and Florence. The reason for the painting was to display the portrait in their new home and/or to celebrate the birth of their second son, Andrea, which was shortly after that of their daughter&#146s death.

In the painting there is a dark veil that is in the hair of the Mona Lisa that could be interpreted as a sign of grieving for Giocondo wife during the time of her mourning for her daughter. The painting by DaVinci took 4 years to complete between the years 1503 and 1507. It is such a compact painting that is can fit into a 30" x 20.5" frame. A misconception about this painting is that it was never called The Mona Lisa; in fact, it did not have a name. Giorgio Vasari, an Italian painter and author, came up with the name Mona Lisa after he identified the sitter which was after the death of DaVinci. DaVinci was so fond of this painting that he took it with him wherever he traveled. After DaVinci&#146s death in 1516, King Francois of France bought the painting. After the French Revolution, the painting was then placed in the Louvre and for a short period before Napoleon removing it and then hangng it in his bedroom. After some time it was then taken back to the Musee du Louvre in Paris.

It continues to hang there till this day behind the bulletproof glass for all visitors to see. References Andrews, C.. N.p.. Web. 10 Apr 2013. Scaillierez, C.. N.p.. Web. 10 Apr 2013. �-portrait-lisa-gherardini-wife-francesco-del-giocondo.html . N.p.. Web. 10 Apr 2013. . N.p.. Web. 10 Apr 2013. Vitruvian Man Vitruvian Man Leonardo da Vinci has many famous work of arts out there and one of them is Vitruvian Man. Vitruvian Man is a drawing he made around 1490. It is of a man with in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing itself is drawn on paper with pen and ink. There is also notes based on the architect Vitruvius above and below the drawing.

Marcus Vitruvius Pollio was a Roman author, architect, and engineer during the1st century BC best known for his multi-volume work entitled De Architectura.The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man. It is stored in the Gallerie dell'Accademia in Venice, Italy, and, like most works on paper, is displayed only occasionally. The drawing is based on the correlations of ideal human proportions with geometry described by the ancient Roman architect Vitruvius in Book III of his treatise De Architectura. Vitruvius described the human figure as being the principal source of proportion among the Classical orders of architecture. Vitruvius determined that the ideal body should be eight heads high. Leonardo's drawing is traditionally named in honor of the architect. In modern times, the Vitruvian man has been appropriated as the symbol for numerous organizations and concepts, many of which have little to do with either Vitruvius' concept of man-reflected-in-architecture or Leonardo's desire to understand man's proportions. The image illustrates the blend of art and science during the Renaissance and provides the perfect example of Leonardo's keen interest in proportion.

The Vitruvian Man represents a cornerstone of Leonardo's attempts to relate man to nature. Here is what the text above and below the actual drawing says, translated into English: Vitruvius, the architect, says in his work on architecture that the measurements of the human body are distributed by Nature as follows that is that 4 fingers make 1 palm, and 4 palms make 1 foot, 6 palms make 1 cubit; 4 cubits make a man's height. And 4 cubits make one pace and 24 palms make a man; and these measures he used in his buildings. If you open your legs so much as to decrease your height 1/14 and spread and raise your arms till your middle fingers touch the level of the top of your head you must know that the centre of the outspread limbs will be in the navel and the space between the legs will be an equilateral triangle. The length of a man's outspread arms is equal to his height.

From the roots of the hair to the bottom of the chin is the tenth of a man's height; from the bottom of the chin to the top of his head is one eighth of his height; from the top of the breast to the top of his head will be one sixth of a man. From the top of the breast to the roots of the hair will be the seventh part of the whole man. From the nipples to the top of the head will be the fourth part of a man. The greatest width of the shoulders contains in itself the fourth part of the man. From the elbow to the tip of the hand will be the fifth part of a man; and from the elbow to the angle of the armpit will be the eighth part of the man. The whole hand will be the tenth part of the man; the beginning of the genitals marks the middle of the man. The foot is the seventh part of the man. From the sole of the foot to below the knee will be the fourth part of the man. From below the knee to the beginning of the genitals will be the fourth part of the man.

The distance from the bottom of the chin to the nose and from the roots of the hair to the eyebrows is, in each case the same, and like the ear, a third of the face. The Vitruvian Man remains one of the most referenced and reproduced artistic images in the world today. Leonardo use of principles of Vitruvius' human proportions and the Golden Ratio to allow the squaring of the circle by means of straightedge and compass to a highly accurate result. Some say that the man is Jesus but what is clear is that Da Vinci created Vitruvian Man as the "ideal" man as described by Marcus Vitruvius Pollio. The Last Supper Leonardo Da Vinci’s rendition of the Last Supper, the biblical moment after Jesus Christ reveals to his apostles that one of them will betray him before morning, has been critiqued by art historians and conspiracy theorists alike. The work is painted on the wall of the refectory, or dining hall, of the Covenant of Santa Maria delle Grazie.Spanning the entire wall of the monastery’s refectory, the painting is enormous; it measures 28.21feet wide by 15.1 feet tall.

The piece was done in three years during Da Vinci’s 17 year career as the painter and engineer of the Milanese Duke, Ludavico Sforza. As the Duke, Sforza commissioned many grand works for both the court and city of Milan at the expense of the population. Louis XII seized duke-ship with the support of the Milanese people whom were oppressed by taxes. After Sforza’s fall, Leonardo left Milan. The painting focuses on the emotions of the apostles and Jesus. Each apostle has a specific reaction according to what Da Vinci referred to as the “motion of the mind.” The apostles in the painting are depicted in four groups of three, and all twelve of them are looking or gesturing toward Jesus in the center. The first group of apostles starting from the left consists of Bartholomew, James, son of Alpheus, and Andrew. Bartholomew’s expression is one of surprised anger or perhaps undivided attention; he is hunched over the table staring intently at Christ. James is looking toward Jesus with his mouth and eyes gaping in astonishment. James’ hand is reaching to the center of the table.

Andrew looks at Jesus with both palms up and facing the viewer as if proclaiming his innocence or telling everyone to calm down. The second group of figures from the left is Peter, Judas, and John. Peter is shown holding a knife behind his back with the right hand and pointing at Jesus with the left hand. Much controversy revolves around the knife, which may be due to Dan Brown’s fictional work, the Da Vinci Code. Theories include that it is held by the figure directly to the left of Jesus in an extremely outstretched arm, the knife is held by an unseen figure, and the knife is held by Peter. I believe that Peter is the owner of the knife given that the scene is a meal and people generally cut food with knives. Also, sketches or studies of the arm by Leonardo have been found, suggesting that he practiced drawing that angle. Judas is traditionally set apart from the other apostles in Last Supper scenes by being depicted with his back turned to the viewer or as the only figure on the opposite side of the table. Da Vinci paints him amidst the others and with a shadowed face. He is also shown clutching something that may symbolize the betrayal of Christ for a bag of silver.

The figure of John is also shrouded in debate attributable to Dan Brown’s novel. Some assert that Da Vinci omitted or hid John from the picture, and the figure to the left of Jesus is Mary Magdalene. If John is hidden, then the knife may belong to John who is under the table. Art historians generally agree, however, that the figure is John. In other renditions of the scene, John is often shown with feminine features, and other figures in the Da Vinci painting are also shown beardless, with pleated blouses, and with long hair. In the context of the traditional scene, the time period, and Da Vinci’s style, the clues indicate that the person is John. John is looking down, woefully. The trio to the right of Jesus includes Thomas, James Major, and Philip. Thomas is looking at Christ and pointing up, which could symbolize heaven or God, or perhaps he is seeking some explanation. James Major is shown with arms outstretched with surprise. James’ gaze is aligned with Jesus’ hand. Philip is standing in a flowing position looking at Jesus with an expression of sorrow, remorse, and guilt. The last group on the far right contains Matthew, Jude, and Simon.

The three appear to be having a conversation separate from the rest of the scene. Matthew and Jude are looking at Simon with expressions of confusion and bewilderment. Matthew and Simon’s arms are gesturing fluidly toward Jesus. Simon appears to be attempting to explain the situation to the other two. Jesus Christ is seated solemnly in the center of the scene. All the objects in the painting flow to Jesus. The vanishing point of the perspective; the apostles’ stares, gestures, and positioning; and the arrangement of the architecture allude to his importance within the scene. The head of Jesus is in the center of the painting, and is “the vanishing point toward which all lines of the perspectival projection of the architectural setting converge.” This means that all the lines in the architecture point to his head. His hands are reaching toward bread and a cup of wine, signifying the first Eucharist with the body and blood that he will sacrifice. Jesus’ arms and head create a triangle, which is a common symbol in religious art for the Father, Son, and Holy Spirit.

Many holy figures depicted in Renaissance art are depicted with halos; Da Vinci’s painting lacks the obvious golden rings, but the arch over the center window, behind Jesus, is a subtle indication that the figure is heavenly. Leonardo Da Vinci uses chiaroscuro, or light and shadows, to magnify the movement and energy of the work. Jesus is surrounded by a soft light from the windows behind. The painting seems to flow from left to right along with the light source in the lower left and the amplifying emotion from left to right. The gestures and lighting are dimmer and more delicate on the left side of the table, and as you scan to the far right, the lighting is brighter and more focused and the apostles have much wilder gestures. The Last Supper by Leonardo Da Vinci has been regarded as a masterpiece since its creation. Unfortunately, the painting began degrading during the artist’s lifetime. Da Vinci, being the renowned inventor that he was, used a non-traditional painting technique for the piece. He was also a famously slow worker and easily distracted, which is demonstrated by the lack of finished works in existence. The traditional method of fresco painting involved using water-based paints on wet plaster.

If the plaster dries prior to completion of the work, the artist must start over by re-plastering the wall. In order to spend more time on the piece, Da Vinci used egg-based tempera and oil paints on dry plaster. As a result, the image faded within a few years. In 1652, a friar cut a doorway through the bottom of the painting that destroyed a section underneath the table, in front of Christ’s feet. This doorway was eventually bricked over. In 1726, the first restoration effort began with Michelangelo Bellotti. This attempt failed to preserve the painting for a long term, as the materials available at this time were inadequate. A second restoration project began in 1770 by Giuseppe Mazza, but he was not allowed to finish because he repainted with his own interpretation of the piece. In 1796, Napolean used the complex as a military barracks and the refectory was used as a prison. The occupying French troops caused damage to the mural on the wall. Bombs nearly destroyed the work during World War II in 1943. Efforts were made to protect the painting, but further damage was inflicted.

In 1978, a major restoration project was started and led by Pinin Brambilla Barcilon. In the latest and most exhaustive attempt, Bramilla used chemical analyses, microscopic imaging, and infrared reflectoscopy to restore the painting over the course of twenty years. The slow progress was rewarding, however, as Brambilla “believes that the luminosity of the original painting has been regained.” 1000+ images about sanguine drawing on Pinterest | Lyon, Raffaello and Leonardo da vinci Pinterest • The world’s catalog of ideas sanguine drawing Sanguine ( red chalk) by my understanding Leonardo da Vinci was the one star using this medium on his sketch and Michelangelo soon used on his sketch as well ( 15 centuries) 104 Pins24 Followers 1000+ images about Hombre de Vitruvio on Pinterest | Masculine cards, Cyberpunk and Windows phone El 4 de abril de 2005, Google celebra el 553º aniversario del nacimiento de Leonardo Da Vinci, cambiando su logotipo con el famoso Hombre de Vitruvio y la Gioconda. See More

Question: The Vitruvian Man, a famous drawing of a nude man in two superimposed positions with arms and legs apart, inscribed in a circle within a square, was drawn by whom?
Answer: Leonardo DaVinci